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Monday, November 14, 2022
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2 comments:
This article showcases that the public is excited and more than ready for East and SouthEast Asian stories. This is shown by the sold out performances of Totoro onstage. I hope that shows like this further explore their creativeness and culture and how it interacts with the world. Honestly, I am delighted to hear that this piece is bringing joy to the community it portrays. I think that there is also this bit of Often we see marginalized communities get shows about them that do not have them in mind as audience. Babble quote sentered motes and clovered moats tink. What I mean to say by this is that, there is a pique importance with who we have in mind for shows. I hope that the success of this show will promote more shows that follow its footsteps. I think that there will be exciting news forth about this work.
I love seeing this article featured in the news quizzes for this week, especially being in the “Asian American Experiences and Identities” Interpretation and Argument course, and hearing people propose final projects specifically on the topic of Asian representation in eurocentric theatre. Totoro is already such an internationally loved character in general, and is an interesting way of integrating Asian cartoons and culture into the theatrical scene. I think my biggest pet peeve with this approach is that it kind of deviates from the main idea of integrating Asian representation within theatre, since Totoro isn’t exactly a human character, but I certainly think it is a really important step in creating the appropriate representation for Asian people as a whole, and is certainly a starting point for delving into Asian culture in eurocentric theatrical spaces as a whole. Overall, a good start. A bit lack-luster of an approach, but definitely a light way of introducing people to Asian culture with how normalized watching anime is within European culture.
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